The narrative is so diffuse that putting together the pieces is beside the point. You feel no closer to knowing or understanding the Laurents, and their collective unpleasantness gives one little reason to want to. It’s a skilled ratcheting of discomfort – but to what end?

Nicolai Fuglsig’s film does a nice job of capturing the fish-out-of-water nature of the American combatants. Chris Hemsworth is suitably heroic and Michael Shannon suitably intense. But if this movie was the only context you had for the U.S. response to the 9/11 attacks, you’d walk out of the theater thinking that we won a quick war without suffering any casualties, that American gusto and bravery saved the day.

If you’re making a movie about someone with exacting standards, Day-Lewis is your man. Yet what’s so exciting about Anderson and Day-Lewis’ collaborations is that while the actor is always superb, they’re very much the director’s movies. They feed off of one another, creating collaborative works that show off each other’s strengths.

Paddington 2 is a winsome confection. More than just a movie, it’s a necessary mood corrective, a temporary escape hatch from negativity. The world does indeed feel right in the company of this kind and polite little bear.

Everyone here has been better, and funnier, in other things. This is a lazy story, wholly dependent upon the likability of its cast which, while considerable, isn’t enough to make it worth the trouble.

There is a hollowed-out gravitas to his Getty, the perfect example of someone for whom having almost literally everything is just not enough, and Plummer captures this magnificently. No matter how he got there, it’s impossible now to imagine All the Money in the World without him.